in 1938. De Mille also made use of such vernacular forms as a square dance and a cadenza for a tap dancer.

Noted among many reviews was de Mille's highly evocative choreography, described as "film sensibility" and renowned for its realism. The original production went on to lead a successful tour, though producers were hard pressed to replicate the skill with which de Mille had portrayed the lead. De Mille retained veto power over any casting of the ballet, which often sent companies to extremes in